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dc.contributor.authorPiper-Wright, Tracy
dc.date.accessioned2020-01-09T11:05:29Z
dc.date.available2020-01-09T11:05:29Z
dc.identifier.citationPiper-Wright, T. (2020 - forthcoming). ‘Between Presence and Program: The Photographic Error as Counterculture’, In Earnshaw, R., Liggett, S., Excell, P., Thalmann, D. (Eds). Technology, Design and the Arts - Challenges and Opportunities, Springer International Publishingen_US
dc.identifier.isbn978-3-030-42097-0en_US
dc.identifier.urihttp://hdl.handle.net/10034/623056
dc.descriptionThis book is part of the Springer Advanced Information and Knowledge Processing Series and will be published under Springer's Open Access policy.en_US
dc.description.abstractCommon photographic errors such over or under exposure, blur, or inadvertent cropping are increasingly rare as technological developments in digital photography have sought to eradicate the error from practice and perception. Efficiencies such as camera automation and image preview are often designed to remove the ‘unreliability’ of the human element in order to produce accurate and consistent images. The error, occurring on the margins of practice and increasingly rare, provides a counterpoint to this prevailing image culture by revealing the interdependence of photographer and camera through unintended outcomes. This chapter explores the ideological assumptions entwined in the development of camera technologies, and how cultures of practice based on a hierarchy of control between camera or photographer arose. Through examples drawn from the research project In Pursuit of Error, the chapter demonstrates how the error disrupts this hierarchy by evidencing the shared subjective agency of camera and photographer. The methodological framework of Actor-Network Theory is used to interrogate the relationship between photographer and camera and reveals them as equal ‘actants’ in the event of photographing. The embodied photographer’s attitude of play, experimentation and not-knowing is interdependent on the camera as a co-creator of unexpected image events which disrupt the conventions of photographic representation.en_US
dc.publisherSpringer International Publishingen_US
dc.relation.urlhttps://sites.google.com/site/artsandtechnology2019/en_US
dc.rightsAttribution-NonCommercial-ShareAlike 4.0 International*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-sa/4.0/en_US
dc.subjectPhotographyen_US
dc.subjectErroren_US
dc.subjectExperimental photographyen_US
dc.subjectAgencyen_US
dc.subjectDoubten_US
dc.subjectActor-networken_US
dc.subjectEmbodimenten_US
dc.subjectSubjectivityen_US
dc.subjectHierarchy of agencyen_US
dc.subjectActor Network Theoryen_US
dc.subjectTransformative arten_US
dc.subjectDigitizationen_US
dc.subjectCultures of practiceen_US
dc.titleBetween Presence and Program: The Photographic Error as Counter Cultureen_US
dc.typeBook chapteren_US
dc.contributor.departmentUniversity of Chesteren_US
or.grant.openaccessYesen_US
rioxxterms.funderUniversity of Chesteren_US
rioxxterms.identifier.projectQR Piper-Wright 2019en_US
rioxxterms.versionSMURen_US
rioxxterms.licenseref.startdate2220-12-31
rioxxterms.publicationdate2020
dc.dateAccepted2019-11-25
dc.date.deposited2020-09-01en_US


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